Emmylou Harris - Evangeline (1981)

“Evangeline” was a 1981 album by Emmylou Harris that was composed mostly of leftover material from past recording sessions and which did not fit into any of her other albums.

Long considered a substandard effort due to its oddly brief running time (it's just barely half an hour long) and scattershot feel like its sister album, “Cimarron”, also released in 1981.

 

 

"Evangeline" is not as bad as its detractors claim. It's true that the album has more than a couple of clunkers; the synthesizers and California rock guitars of Rodney Crowell's "I Don't Have to Crawl" and "Ashes By Now" do neither singer nor songs any favors, the version of John Fogerty's "Bad Moon Rising" adds nothing new to the song, and James Taylor's "Millworker" simply isn't very good. On the other hand, two recordings from the then-unreleased Trio sessions with Dolly Parton and Linda Ronstadt, a perky "Mr. Sandman" that was a minor pop hit and a reworking of Robbie Robertson's haunting "Evangeline" featuring some outstanding harmonies from Parton, are outstanding, as are "Spanish Johnny," a Springsteen-ish ballad sung with Waylon Jennings, and a dazzling version of the standard "How High the Moon" that uses the same pre-rock arrangement style as "Mr. Sandman." So, “Evangeline” is certainly uneven, but it's not at all worthless.

Side A
1. I Don't Have to Crawl  (3:46)
2. How High the Moon  (3:21)
3. Spanish Johnny [with Waylon Jennings]  (3:50)
4. Bad Moon Rising  (2:40)
5. Evangeline  (3:09)

Side B
1. Hot Burrito #2  (3:04)
2. Millworker  (4:03)
3. Oh Atlanta  (2:58)
4. Mr. Sandman" [harmony by Dolly Parton & Linda Ronstadt]  (2:20)
5. Ashes by Now  (4:24)

Credits
Acoustic Guitar – Brian Ahern, Emmylou Harris, Frank Reckard, Ricky Skaggs, Rodney Crowell
Steel Guitar [Pedal] – Hank DeVito
Piano – Albert Lee, Bill Payne, David Briggs, Don Johnson, Mac Rebbenack, Tony Brown
Fiddle [Fiddles] – Ricky Skaggs
Guitar [Lead] – Albert Lee, Amos Garrett, Frank Reckard, James Burton
Harmonica [Harmonicas] – Mickey Raphael
Mandolin – Ricky Skaggs
Percussion – John Ware
Bass – Emory Gordy, Mike Bowden
Drums – Dave Lewis, Hal Blain, John Ware, Larrie Londin
Electric Piano – Bill Payne, Glen D. Hardin
Engineer – Bradley Hartman, Brian Ahern, Donivan Cowart, Stuart Taylor
Producer, Arranged By – Brian Ahern

Notes
Photography – Olivier Ferrand
Artwork By [Art Direction & Design] – Tim Ritchie
Made in Germany by WEA Musik GmbH.
Genre - Country
Recorded at Enactron Studios.
Mixed at Magnolia Sound.
© 1981 Warner Bros. Records Inc.

available at:  www.ad-vinylrecords.com

The Shadows - At The Movies (1978)

The Shadows are a British pop/rock group with a total of 69 UK hit-charted singles: 35 of which are credited as The Shadows and 34 as Cliff Richard and the Shadows, from the 1950s to the 2000s. The group, who were in the forefront of the UK's beat-group boom, were the first backing band to emerge as stars in their own right. As pioneers of the four-member rock-group format, the band consisted of lead guitar, rhythm guitar, bass guitar and drums.

 The Shadows' core members are Hank Marvin, Bruce Welch and Brian Bennett; though there have been numerous changes in the line up throughout its history. The band's unique sound was originally produced by a combination of American Fender guitars, British amplifiers made by Vox and echo units Meazzi Echomatic tape and Binson magnetic disc. The Shadows, with singer Cliff Richard, dominated the British popular music scene in the late 1950s and early 1960s in the five years before The Beatles. Although they lost ground in the late sixties, the band enjoyed a second spell of success and interest from the late seventies until the present day.

 

The Shadows are the third most successful UK charted hit-singles act behind Elvis Presley and Cliff Richard. The Shadows and Cliff Richard & the Shadows each have had four No.1 selling EPs.

This album pretty much does what it says on the tin and culls tracks from films The Shadows contributed to back in the 1960s. Opening with their 1963 Number one hit Foot Tapper from Summer Holiday we are then taken back to 1962 to sample music from the film The Boys of which The Shadows were assigned to compose music for. Side one then concludes with two instrumentals from the film Wonderful Life.

 Side two kicks off with the theme from the 1961 feature film The Frightened City before a rare vocal performance from the 1966 film Finders Keepers and then tracks from the rarely seen Shadows screen venture Rhythm N Greens.

Side A
A1.  Foot Tapper
A2.  Sweet Dreams
A3.  The Boys
A4.  The Girls
A5.  Theme From "The Boys"
A6.  Walkin'
A7.  Theme For Young Lovers

Side B
B1.  Frightened City
B2.  My Way
B3.  Main Theme
B4.  The Drum Number
B5.  Ranka-Chank
B6.  The Lute Number
B7.  Rhythm And Greens

Credits
Performer(s) – Bruce Welch, Hank Marvin, Jet Harris, Tony Meehan

Notes
A1 from film "Summer Holiday"
A2 to A5 from film "The Boys"
A6, A7 from film "Wonderful Life"
B1 from film "Frightened City"
B2 from film "Finders Keepers"
B3 to B7 from film "Rhythm And Greens"
Genre: Rock & Roll, Instrumental
© 1978 MFP Records

available at:  www.ad-vinylrecords.com
 

Soundtrack - More Dirty Dancing (1988)

“More Dirty Dancing” (full title: More Dirty Dancing: More Original Music from the Hit Motion Picture) is a 1988 follow-up album released after the huge commercial success of the 1987 motion picture “Dirty Dancing” and 1987 its soundtrack.

 Unless you're from Brain(less)tree, Mass.you'll probably like most of the tunes on this package, the ones with real feeling. For one who was there when these songs were originally popular, I can tell you they evoke real memories of the time.

They catch the early 60s' mindset. Forty years after "Cry to Me", Solomon Burke was still recording and making appearances. Why they left this song out on the initial album is beyond me.

It played as Johnny and Baby first made love, a significant turn in the movie. "Some Kind of Wonderful" (not to be confused with a song by Grank Funk Railroad of the same name) was popular a couple of years before the movie's timeframe. "Wipeout" was a new song that summer, liked by all the teens. "Do you Love Me?" was a recent hit and upon its use in the movie inspired the aging Contours to go on tour again. If they had included "Hey, Baby" from 1962 (with Texas bluesman Delbert McClinton on the background blues harp)and the song apparently written for the movie and done by Bill Medley of the Righteous Brothers and Jennifer Warnes, the other songs could have been done away with.

Side A

1.  The John Morris Orchestra - Baby´s Walk (Instrumental)  (0:37)

2.  The Four Seasons - Big Girls Don't Cry  (2:25)

3.  Michael Lloyd & Le Disc - Merengue  (2:16)

4.  The Drifters - Some Kind of Wonderful  (2:33)

5.  Michael Lloyd & Le Disc - Johnny's Mambo  (3:02)

6.  The Contours - Do You Love Me  (2:49)

7.  Otis Redding - Love Man  (2:14)

Side B

1.  The Surfaris - Wipe Out  (2:12)

2.  Otis Redding - These Arms of Mine  (2:26)

3.  Michael Lloyd & Le Disc - De Todo un Poco  (2:27)

4.  Solomon Burke - Cry to Me  (2:23)

5.  Michael Lloyd & Le Disc - Trot The Fox  (2:04)

6.  The Shirelles - Will You Love Me Tomorrow  (2:39)

7.  The Emile Bergsteign Chorale - Kellerman's Anthem  (3:17)

8.  The John Morris Orchestra - Lifts In The Lake Theme (Finale) (Instrumental)  (0.55)

Credits

Executive Producer – Jimmy Ienner

Mastered By – Spiry

Notes

Soundtrack Executive Director: Jimmy Ienner

A&R Direction: Bob Feiden

Mastered by: Mike Fuller, Fullersound, Miami, Florida

© 1988 RCA Records

available at:  www.ad-vinylrecords.com

Shirley Bassey - Burn My Candle (1976)

Twenty Years have passed since the earliest recording on this album, “Burn My Candle”, and those years have probaly seen more honours bestowed on Shirley Bassey than any other female singer in British show business history.

The hitrecords have been mere milestones in the lady´s well-documented career.

 
Here´s a reminder of the early Bassey, a great talent even in those formative years, 20 years ago. The tracks on this album, such as: ("Burn My Candle" b/w "Stormy Weather", The Birth of the Blues", "My Funny Valentine" and "The Banana Boat Song") were the results of her first recording sessions with highly-respected producer John Franz (who was later to be responsible for the success of such names as Dusty Springfield, The Walker Brothers and Peters and Lee).  

And there´s an added bonus “My  Body Is More Important Than My Mind” which was recorded live before an audience at the late lamented Café de Paris in Piccadilly.

Side A
A1.  Burn My Candle
A2.  Stormy Weather
A3.  How About You
A4.  Birth Of The Blues
A5.  There's Never Been A Night
A6.  My Funny Valentine
   
Side B
B1.  St. Louis Blues
B2.  The Gypsy In My Soul    
B3.  Beale Street Blues
B4.  My Body's More Important Than My Mind
B5.  You, You Romeo
B6.  The Banana Boat Song
 
Credits
Producer – John Franz

Notes
"Electronically Created Stereo"
"My Body's More Important Than My Mind" is recorded live at the Cafe de Paris, London.
Genre: Pop / Jazz / Easy Listening
© 1976 Contour Records, Manufactured & Distributed By Pickwick International Inc.

available at:  www.ad-vinylrecords.com

 

Janis Ian - My Favourites (1980)

Janis Ian (born Janis Eddy Fink, April 7, 1951) is an American songwriter, singer, musician, columnist and science fiction author. Ian first entered the folk music scene while still a teenager in the mid-1960s. Most active musically in that decade and the 1970s, she has continued recording into the 21st century.

This LP anthology contains songs that were purportedly as the moniker would infer chosen by Janis Ian from her string of superior mid-'70s albums Stars (1974), Between the Lines (1975), Aftertones (1976), Miracle Row (1977), Janis Ian (1978) and Night Rains (1979).

As Ian was catering to a specific market, her choices may be a reflection of those songs that were hits and favorite deep cuts of the European audiences. The mesmerizing title composition "Stars" begins the sojourn of offering Ian's at time uncomfortably intimate illuminations in a fresh context.


The post-Vietnam experienced "Jesse”, or the almost disturbing minor chord progressions on "In the Winter" as they evoke palpable feelings of impending isolation.

Of course no accurate assessment would be possible without "At Seventeen", which was not only Ian's biggest hit Stateside, but it garnered her a spot during the October 11, 1975 debut episode of NBC-TV's Saturday Night a revolutionary variety program featuring comedy and live music. There are numerous nuggets from several of the often overlooked mid- to late '70s. Among those found on “My Favourites” are Ian's collaboration with Albert Hammond on "The Other Side of the Sun" and with producer Giorgio Moroder on "Fly to High" both from “Night Rains”.  “This is a collection of the songs from former albums, that i think you´ll like best. I hope you enjoy it!” Janis Ian.

Side A
A1.  Fly Too High   (5:07)  
A2.  Between The Lines  (4:03)  
A3.  Stars  (7:10)  
A4.  Love Is Blind  (2:14)  
A5.  In The Winter  (2:13)  
A6.  At Seventeen  (4:41) 

Side B
B1.  Jesse  (4:06)  
B2.  Afternoons  (3:14)  
B3.  Miracle Row / Maria  (7:24)  
B4.  That Grand Illusion  (2:48)  
B5.  The Other Side Of The Sun  (3:58)  
B6.  When The Party's Over  (2:57)

Credits
Art Direction – Henk De Jong 
Design – Studio Graficentra B.V.
Photography By [Background Photo] – De Koepel
Producer – Brooks Arthur, Giorgio Moroder, Janis Ian, Joe Wissert, R. Frangipane
Written-By – Janis Ian

Notes
Genre: Singer/Sonhwriter
© 1980 CBS Grammofoonplaten B.V.

available at:  www.ad-vinylrecords.com

 

David Gates - Goodbye Girl (1978)

David Ashworth Gates (born December 11, 1940) is an American singer-songwriter, best known as the lead singer of the group Bread,

On the heels of the success of the 1977 film The Goodbye Girl and the popularity of the theme song, former Bread vocalist David Gates released this 1978 album. Featuring his hit song, “Goodbye Girl” included material culled from his previous solo albums, 1973's “First” and 1975's “Never Let Her Go”.

However, rather than simply an odds-and-sods collection, the album also included several newly recorded songs with "Took the Last Train," "Overnight Sensation," "California Lady," "Drifter," and "He Don't Know How to Love You." While the album certainly fit into Gates' melodic, laid-back soft rock oeuvre, the new songs found him branching out musically. Perhaps inspired by Labelle's 1974 disco hit "Lady Marmalade," Gates' similarly French-infused, St. Tropez-set "Took the Last Train" was a cutting-edge (for the time) synthesizer and drum machine-driven number featuring the chorus refrain "Viens chez moi/Ce soir va jamais terminer/On va rester toujours ensemble" which, loosely translated, means "Come to me/Tonight will never end/We will always be together." The song is a forgotten yacht rock-era anthem that deserves a place next to such classics of the genre as Rupert Holmes' "The Piña Colada Song" and Bertie Higgins' "Key Largo." Although Gates was largely responsible for the more mellow end of Bread's output with "California Lady," "Drifter," and "He Don't Know How to Love You," he dug into his Oklahoma roots and displayed his knack for Eagles-style country-rock. Ultimately, “Goodbye Girl” is a great example of mainstream '70s AOR and still works as a nice single-disc snapshot of Gates' post-Bread work up to that point.



Side A
A1.  Goodbye Girl  (2:45)
A2.  Took the Last Train  (4:32)
A3.  Overnight Sensation  (4:58)
A4.  California Lady  (3:52)
A5.  Ann  (3:50)
A6.  Drifter  (3:37)

Side B
B1.  He Don't Know How to Love You  (2:43)
B2.  Suite: Clouds, Rain  (8:52)
B3.  Lorilee  (4:42)
B4.  Part-Time Love  (2:23)
B5.  Sunday Rider  (3:21)
B6.  Never Let Her Go  (2:58)

Credits
Co-producer – Larry Knechtel
Design – Mary Francis
Design, Art Direction – Ron Coro
Engineer – Bruce Morgan, Roger Mayer
Photography [Cover] – David Alexander
Photography [Sleeve] – Richard Cramer
Written-By, Arranged By, Producer – David Gates

Notes
Made in UK
Came with lyric insert
Genre: Soft Rock
© 1978 Elektra Records / Wounded Bird Records

available at:  www.ad-vinylrecords.com

Harry Sacksioni - Harry Sacksioni: Gitaar (1975)

Harry Sacksioni (Amsterdam, 23 oktober 1950) is een Gitaarfenomeen, die eerst als begeleider van Herman van Veen en later als soloartiest al drie decennia lang een trouwe groep fans kent.

Sacksioni werd in de jaren zeventig bekend om zijn akoestisch gitaarspel, dat hij vooral door zijn samenwerking met Herman van Veen onder de publieke aandacht kon brengen. Zijn composities spreken, bij gitaristen en anderen, zeer tot de verbeelding. Beroemde stukken zijn bijvoorbeeld Meta Sequoia, Vensters, Elixer, Thee bij tante Josephine, Bello en Paddentrek. Verreweg het meeste van zijn oeuvre bestaat uit eigen composities, van een hoofdzakelijk instrumentaal karakter.

 

Reeds vanaf zijn eerste plaat (1975) liet hij zich bij zijn gitaarcomposities door andere instrumenten begeleiden, variërend van een banjo, viool of tuba tot een band, orkest of menigte autoclaxons.

 Als in 1968 een voetbalcarrière bij Ajax niet van de grond komt kiest Sacksioni voor de muziek. Na in verschillende beatgroepjes te hebben gezeten wordt de pas 17-jarige Sacksioni studiomuzikant. Hij schrijft in deze tijd bovendien voor artiesten zoals Sandra en Ronny Tober. Op de podia is hij te zien als begeleider van de cabaretier Sieto Hoving.

 

In Een televisieoptreden in de Van Speyk Show in 1975 wordt enthousiast ontvangen. Ditzelfde jaar wordt Sacksioni's eerste plaat “Gitaar” uitgebracht. Hij toont zich hierop een veelzijdig en virtuoos gitarist, die door een combinatie van diverse stijlen (klassiek, flamengo, finger picking) een eigen geluid weet neer te zetten.

 Sacksioni werkte jaren samen met Herman van Veen en Erik van der Wurff. Ook werkt hij af en toe samen met Raymond van het Groenewoud, Frank Boeijen en vele anderen uit de Nederlandse muziekscène.

Gitaristen gebruiken zijn composities voor gitaarsolo graag als studiemateriaal. Sacksioni treedt al 40 jaar op in Nederlandse theaters, maar is ook geregeld in het buitenland te vinden als uitvoerend artiest.

Side one
A1.  Flixer  (1:43) 
A2.  Scarborough Fair (3:38)  
A3.  Meta Sequoia  (3:19) 
A4.  Lappenballerina  (1:11) 
A5.  Hagelslag  (2:21) 
A6.  Goofy (2:29) 

Side two
B1.  Thee Bij Tante Josephine  (2:42) 
B2.  Huiswaarts  (1:43) 
B3.  Tranen  (3:44) 
B4.  De Vlechters (1:49) 
B5.  Kleedkamer (0:41)  
B6.  Breekbaar (2:21)

Credits
Arranged By [Strings] – Erik Van Der Wurff
Compiled By – Harry Sacksioni
Design – Anja Kiekens
Photography – Gerard Jongerius, Rob Chrispijn
Producer – Rob Chrispijn
Technician – Pieter Nieboer
Written-by - Harry Sacksioni (except; "Scarborough Fair" written-by - Paul Simon)
Genre - Acoustic Gitaar, Instrumental

Notes
De Gitaren: na elkaar en niet verelkaar (dus niet gedubt)
1. Martin D28 (martin extra0light) A2, 3, 4, 6 B6
2. D. Hopf - handbouw (savarez geel + g snaar savarez rood) A1 A2, 4
3. 12-snarige Guild (martin light) A5 B1, 3
4. Framus tenor-banjo (st. david) B5

De Muzikanten:
G. Hautvast, H. van Veen,
B. Behr, S. Nijveen,
L. Vleeshouwer, M. van Staalen,
E. van der Wurf.
Techniek - Pieter Nieboer (Phonogram Studio)
℗ 1975 Harlekijn Holland Produkties

available at:  www.ad-vinylrecords.com

 

Cory Daye - Cory And Me (1979)

As an original member of Dr. Buzzard's Original Savannah Band, vocalist Cory Daye became one of the most distinctive voices of the disco era. Fronting classics like "Cherchez La Femme" and "I'll Play the Fool," she helped earn the band a Grammy nomination for "Best New Artist" in 1976. Three years later, she released her first solo album, “Cory And Me”, on New York International Records.

A non-stop party and a fabulous disco album, with some swing, calypso, and pop thrown in.

The 2 big hits in the clubs were "Green Light" and "Pow Wow". Other highlights include
"Wiggle & A Giggle All Night", and "Rainy Day Boy".

 

After three albums with Dr. Buzzard's Original Savannah Band, Cory Daye enlisted the songwriting and production of Sandy Linzer to replicate her former band's sound on her solo debut, “Cory and Me”. Linzer was a particularly appropriate match for Daye, since he had already worked with Odyssey on their Dr. Buzzard-inspired disco classic "Native New Yorker." Perhaps hoping for similar Top 40 success, Daye seems more commercially motivated on Cory and Me, but that accessibility works wonders on the two opening cuts, "Green Light" and "Pow Wow." On both songs, Daye uses her playfully expressive voice to transform the potentially hokey lyrics into irresistible verses. Linzer combines propulsive beats with climactic orchestration and uses musical shifts and timely special effects to build momentum during extended instrumental breaks. Daye's charm and enthusiasm are contagious throughout, but the rest of the songs fail to match her energy level, and the scattered Dr. Buzzard touches often seem diluted by the album's mainstream ambitions. Nevertheless, most Dr. Buzzard followers will probably enjoy the familiarity of “Cory and Me”, and the album may also appeal to fans of late-'70s disco divas who are unfamiliar with Daye's considerable talents.

Side one
1. Green Light  (6:10)  
2. Pow Wow  (7:14)  
3. Wiggle & A Giggle All Night  (3:08)  
4. Rhythm Death  (1:20) 

Side two
1. Single Again/ What Time Does The Ballon Go Up  (5:39)  
2. Be Bop Betty A/K/A/Co Co Ree  (3:32)  
3. Rainy Day Boy  (4:06)  
4. Keep The Ball Rollin'  (5:20)

Credits
Vocals – Cory Daye
Keyboards – Joe Delia
Backing Vocals – The Morningside Kids
Bass – Alex Blake, Neil Jason
Drums – Abe Speller
Guitar – Binky Brice, Caleb Martin, Dave Snider, David Spinozza, Lance Quinn
Management [And Direction] – Tommy Mottola
Percussion – 'Crusher' Bennett
Saxophone – George Young 
Saxophone, Lyricon – Charles DeChant
Synthesizer – Ed Walsh
Producer – Sandy Linzer
Art Direction – Acy Lehman, Dick Smith
Concertmaster – Gene Orloff, Harry Lookofsky
Engineer – Bob Clearmountain, Ed Evans, Neil Dorfsman
Engineer [Additional] – Ed Sprigg, Lee Ann Unger, Michael Getlin
Engineer [Assistant] – Bob James, Bruce Buchalter, Raymond Willard
Engineer [Mix] – Joe Barbaria, Larry Alexander, Neil Dorfsman
Engineer [Remix] – Frankie D'Augusta
Mastered At – Masterdisk

Notes
Recorded at Power Station Studios, N.Y.
Additional recording at A&R Studios and The Hit Factory, N.Y.
Manufactured By – RCA Records
Distributed By – RCA Records
© 1979 New York International Records

available at:  www.ad-vinylrecords.com